2005 Brazilian Models' Covers
The year is about to end, and now it is a good time to start to review what happened during this year. I will start with my favorite subject...As you know, Brazil is famous by its gorgeous women. Here is a selection of covers, organized by month, from the most famous man magazine in the country. I am also providing a link with a quick sneak preview of the model. Enjoy!
Mariana Kupfer: Playboy Magazine - November
Cissa Guimaraes: Sexy Magazine - November
Scheila Carvalho: Sexy Magazine - October
Camilla Amaral: Playboy Magazine - October
Luciana Coutinho: Sexy Magazine - September
Viviane Victorette: Playboy Magazine - September
Nana Gouveia: Sexy Magazine - August
Grazielli Massafera: Playboy Magazine - August
Keyla Polizello: Playboy Magazine July
Aline Pyrro : Sexy Magazine - July
Anna Flavia : Playboy Magazine - June
Karla BBB: Sexy Magazine - June
Flávia Monteiro : Playboy Magazine - May
Livia Lemos : Sexy Magazine - May
Tathy Rio : Sexy Magazine - April
Natália Nara : Playboy Magazine - April
Rafaella Cardona : Sexy Magazine - March
Ana Biase foi capa da Playboy Magazine - March
Michelly Pettri : Sexy Magazine - February
Bárbara Borges : Playboy Magazine - February
Paniquetes: Sexy Magazine - January
posted by nscafuro @ 7:45 AM
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Salvador, Bahia - The Salvador Carnival in Bahia attracts two million people a year, including 800,000 tourists. It generates US$254 million of business. Salvador’s “Carnaval” lasts six days, takes place along 26 kilometers of public thoroughfares. It includes the participation of 100 parade groups called “blocos” and sundry sound trucks called “trios elétricos.” Read more about Salvador’s Carnaval.
Brazil, Mexico and Puerto Rico top the telenovela market with more than 100 episodes that are televised principally in Latin America, Italy and Portugal. Though the format originated in Mexico and Cuba in the 1950s, Brazil’s Rede Globo is by far the world’s richest and most prolific producer. Telenovelas dominate its nightly line-up starting at 6 p.m.
The South American spiders of the genus Phoneutria, especially the Phoneutria fera from Brazil, have the most effective neurotoxic venom of any living species. It is so potent that just 0.006 milligrams are enough to kill a mouse. The Phoneutria genus is usually of a dark color and has a tentacle spread of about 17 centimeters. These large and very aggressive creatures often enter homes and hide among clothes and shoes. When disturbed, they furiously bite several times. Hundreds of accidents with this species are reported annually.
He is reference of the eletronic scene in Brazil. His beats energized tons of people in different electronic festivals such as Skol Beats, MegAvonts, and others. DJ Marky also is reference outside Brazil as one of the most creative D'n'B DJ. But who is DJ Marky? Here is a short sumary of his story...
In 2000 DJ Marky went national in the UK by presenting the One World show on Radio 1.
DJ Marky has also begun to make a concerted move into production, both by himself and with long-term collaborator, XRS. In fact, it was their very-recent UK Top 20 single LK (produced alongside Stamina MC) which really propelled DJ Marky into the bright lights.
For those "gringos" that enjoy the brazilian music, I will start to post the bibliograph of some of the best Brazilian artists in different music styles. I decided to start with a muse of the Axe Music, and responsible for one the best carnivals in Brazil: Ivete Sangalo. 
If rock in Brazil still had a romantic and idealistic image, everything would change in January 1985, thanks to a crucial event: the mega festival 
RPM’s special effects and top line equipment, together with Paulo Ricardo’s sex appeal, were very new in Brazil. They toured across the country, radically pushing up the band’s popularity, and ended up being forced by the record company to quickly make a live album. Released in 1986, Rádio Pirata Ao Vivo established a record: 2,2 million copies were sold. Soon, giving in to the pressures of being a national sensation, stressed out by internal disputes and drug abuse, RPM made a third LP (RPM, from 1987, with disappointing sales figures) and quietly broke up in 1989. 
In the same month as Rock in Rio was happening, a band from Brasília (DC) was releasing its first album – which would eventually write their name in the history of Brazil Rock. Legião Urbana introduced former punk rocker Renato Russo’s clever and witty poetry to young audiences who found their universe expressed in songs like Será, Ainda É Cedo and Soldados. Legião was the first among punk-driven bands from Brasília to gain high media visibility; others, like Capital Inicial, Plebe Rude, Finis Africae and Detrito Federal would follow. Also boasting a punk background and also far from the Rio-São Paulo circuit, acid Bahia group Camisa de Vênus, led by vocalist Marcelo Nova, appeared in 1985 and quickly escalated the music charts. 
In São Paulo, the punk echoes of 1985 would bring forward another relevant band: guitarist Edgard Scandurra’s Ira!. Meanwhile, the city’s underground was sprouting bands influenced by the British pop-rock: Muzak, Akira S & As Garotas Que Erraram, Chance and Ness (gathered in the compilation Não São Paulo), Mercenárias and Smack (Edgard Scandurra played on both), Fellini and Voluntários da Pátria. 
Independent label Baratos Afins, run by Luiz Calanca, released all those bands’ records, anticipating in at least ten years the role that small labels would play in the alternative music business. On the other end of the rope, i.e., in Rio, Léo Jaime released his first solo record, Kid Abelha released their second and Cazuza left Barão Vermelho to start a solo career and put out his first album, Exagerado. 
The gauchos are comin’ 
Three albums grabbed audiences and critics for their punch and newness, and defined the face of Brazil Rock in the eighties. With the LP Selvagem, Paralamas do Sucesso produced an ambitious journey through Brazil, Jamaica, England and Africa via black music. Legião Urbana’s second release, Dois, showed a more poetic and acoustic approach to their raw compositions. At last, with Cabeça Dinossauro, the Titãs took a definitive and risky punk turn that just granted them more credibility and radio hits. 
BRock’s good phase would continue in 1987, with Lobão’s Vida Bandida and a handful of albums that would make it into the history of the style in Brazil: A Revolta dos Dândis (Engenheiros do Hawaii’s masterpiece), Jesus Não Tem Dentes no País dos Banguelas (Titãs), Que País É Este – 1978/1987 (Legião Urbana) and Sexo! (Ultraje a Rigor). That year would also deliver a surprising new act: Fausto Fawcett & Os Robôs Efêmeros, whose rap Kátia Flávia became a hit overnight, inevitably leading the group towards a record deal. 
Hard times 
In the early 90s, while economic crises dragged Paralamas’ and Titãs’ sales figures down the drain, an underground band from Minas Gerais (SE) was becoming heavy metal’s biggest name, and Brazil’s strongest name abroad: Sepultura, who would sign to Dutch company Roadrunner and release Beneath The Remains (1989) and Arise (1991). Shortly before the release of Arise, Sepultura played the second Rock in Rio festival, sharing the stage with Prince, Guns’n’Roses, George Michael, Faith No More and Judas Priest, besides local acts: Titãs, Engenheiros, Lobão, Paulo Ricardo, Hanoi Hanoi, old time rocker Sergei, Vid & Sangue Azul, Nenhum de Nós, Capital Inicial, Ed Motta and BPM stars. That same year a new band appeared in Rio: Cidade Negra, whose reggae roots had been anticipated by Gilberto Gil and Paralamas, and would dictate the pop paths for the following decade. 
In the early 90s, a cover fever sweeps the BRock scene. Expecting to make it abroad (as Sepultura had done), a number of bands adopted English as their language for lyrics, crystallizing styles like heavy metal (Viper, Dorsal Atlântica, Korzus), brit pop, melodic rock (Beach Lizards, Second Come, Dash, Killing Chainsaw) and punk (Anarchy Solid Sound). The exception was Ratos de Porão, growing more and more popular within the underground market and singing in Portuguese. But even they wouldn’t resist the temptation, giving in to English with the 1994 album Another Crime in Massacreland. 
Started in 1991 in Belo Horizonte (Minas Gerais, SE), reggae band Skank made a surprisingly professional independent album in 1992. As they soon signed to Sony Music, the company re-released the album exactly as it had been made. In 1993, Skank’s first radio hits helped pave the way for newer acts. Meanwhile, in Recife (Pernambuco, NE), the manguebeat was blossoming, with bands like Chico Science & Nação Zumbi and mundo livre s/a mixing traditional and folk styles with pop/vanguard music. Still in ’93, rapper Gabriel, o Pensador would turn rap into pop, commercial music with Tô Feliz, Matei o Presidente (I’m Glad, I’ve Killed the President, addressed to former and impeached President Fernando Collor de Mello). 
At the same time, Titãs started a label, Banguela, releasing mundo livre S/A’s and Raimundos’ debut albums. The latter managed to break into the radio waves thanks to non-stop tours and their Ramones-like, fast, melodic songs, selling over 100,000 copies and taking the first steps that would make them the dearest rock band in the 90s. Another heavyweight to arise in the 90s was Planet Hemp (from Rio), led by rapper Marcelo D2. Usuário was their first and polemic album, whose exclusive theme was weed. Along with Raimundos, Planet hemp forced commercial radio stations to air heavier rock and explicit lyrics. 
Nonetheless, the commercial record of that phase was the debut album of Mamonas Assassinas, a malicious group of humorous rockers from Guarulhos, in the outskirts of São Paulo. Their satirical songs grew stronger on the stage and on the TV on account of histrionic and very charismatic vocalist/composer Dinho. Released in May 1995, Mamonas Assassinas quickly conquered the younger crowds, selling 2,6 million copies. Tragically, fate abbreviated their career much too soon: on March 2, 1996, the five members of the band died when their plane crashed shortly before landing in São Paulo. 
The veterans also had their shots along the 90s. Lulu Santos enjoyed enormous success with the albums Assim Caminha a Humanidade (94) and Eu e Memê, Memê e Eu (1995, with producer Marcelo ‘Memê’ Mansur). Former Blitz most successful member, Fernanda Abreu re-invented herself as a funk-disco queen with the albums SLA Radical Dance Disco Club (1990), SLA – Be Sample (1992) and Da Lata (1995). Arnaldo Antunes, former Titãs member, also started a prestigious solo career with the album Nomes (1994). 
The bridge between rock and Brazilian music built by Chico Science and Raimundos allowed a number of artists that were on the border of pop-rock and BPM to come to surface: from Rio, Pedro Luís (with his percussion-only band A Parede) and Paulinho Moska; from Pernambuco, Lenine; from Paraíba, Chico César and from Maranhão, Zeca Baleiro. Minas Gerais reinforced the pop edge, producing bands like Jota Quest and Pato Fu, who would release four albums before enjoying some respect and success. Back in Rio, the band O Rappa (reggae/rock/funk/samba) grew slowly along three albums filled with radio-friendly songs. The greatest surprise, though, came from São Paulo: rap group Racionais MCs achieved national success, selling over one million copies of their 1998 album Sobrevivendo no Inferno. 
The 90s finished with the re-birth of rock in the press, partly due to the smashing hits of bands like Charlie Brown Jr. (from Santos, São Paulo) and Raimundos in 1999. Other bands followed, like the brand new Los Hermanos (whose hit Anna Júlia was aired non-stop in ’99), Penélope and Autoramas, besides veterans Ultraje a Rigor, Capital Inicial and Plebe Rude, all unexpectedly returning to enjoy some space in the press. Meanwhile, Lobão pursued new strategies, creating his own label – Universo Paralelo – to release the acclaimed album A Vida É Doce, only available at newsstands and on the internet.
